Dave Holland, Zakir Hussain and Chris Potter provided an afternoon of sublime music. Powerful but quiet, they held the audience enraptured for ninety minutes – even responding to the standing ovation at the end with an encore.
I had no expectations of this gig, other than I’d seen two of the musicians several times before and wanted to see what else they were up to. And so it was that I heard some of the most exciting new music for a long time.
Those two musicians were guitarist Joe Williamson and pianist Fergus McCreadie. Indeed, McCreadie must have thought I was stalking him – I saw him play three or four shows in the jazz festival, including his own trio gig. But the other three that make up the band were superlative too. Angus Tikka played excellent, sometimes funky electric bass (and I had been close to giving up on electric basses in a jazz setting!). Harry Weir played some blistering, intense tenor. And Graham Costello himself was superb on drums – energetic, powerful, exciting.
They had me hooked on the first number (none of the tunes were introduced, and they played through, from one tune to the next, so I have no idea what any of them were called). Building slowly, McCreadie seemingly playing a single chord, Williamson stoked the tension. And they kept it going through two sets of high energy jazz rock. Not a retread of electric Miles or seventies fusion – this seemed very much of its time.
I wasn’t alone in my enthusiasm, either: chatting at other shows, people I didn’t know were telling me how good it was!
(They’ve just released a a video of a recent performance on Radio Scotland.)
I don’t normally seek out vocalists, but having seen Kurt Elling a couple times with the SNJO, I wanted to see what he was like with his own band. And it was very good indeed. He has a deep, rich voice which he uses as an instrument, improvising scat and vocalese as much as singing lyrics. He started with Bob Dylan’s Hard Rain, taken slowly and acapella – with moments he had the Assembly Hall spellbound. A marvellous evening.
I hadn’t heard Keyon Harrold’s music before this show. It had a quite a dark feel to it – the opening number was long and brooding. There was an undoubted – and understandable – political edge: Harrold is from Ferguson, Missouri, and one number, Lament for MB, was dedicated to Mike Brown, the young black man whose killing by police lead to riots a few years ago. He also expressed his thanks to the people of Edinburgh who had been marching against the US president’s visit to Scotland. The music had a distinct, infectious groove, a hint of hiphop beats and rock rhythms, as well as vocal samples operated by the drummer, Charlie Haynes.